Some of the sections of this piece recycle motifs from its composer's cantata "Lament, O Children."  The ninth scene in this work describes the preparation of the Paschal Lamb, which echoes a motif that is absent from the text on which this work is based. This work's innovation in its genre was to intersperse arias for one or more texts in a contemporary voice among this work's fifteen chorales, which are by contrast drawn from a certain Biblical source. This work's double chorus was conceived for the first venue where it was performed, St. Thomas' Church in Leipzig on Good Friday, 1727. An influential 1829 performance, which resurrected this
Some of the sections of this piece recycle motifs from its composer's cantata "Lament, O Children."  The ninth scene in this work describes the preparation of the Paschal Lamb, which echoes a motif that is absent from the text on which this work is based. This work's innovation in its genre was to intersperse arias for one or more texts in a contemporary voice among this work's fifteen chorales, which are by contrast drawn from a certain Biblical source. This work's double chorus was conceived for the first venue where it was performed, St. Thomas' Church in Leipzig on Good Friday, 1727. An influential 1829 performance, which resurrected this work's composer, was conducted by Felix Mendelssohn. For ten points, name this oratorio, with libretto by Christian Friedrich Henrici and music by J.S. Bach, drawn from the 26th and 27th chapters of one of the Gospels.
Some of the sections of this piece recycle motifs from its composer's cantata "Lament, O Children."  
St. {Matthew Passion} or {Matthaus}-{Passion}